Tag Archives: Berlin

TheLab presents an evening of co-creating with algae, bacteria and fungi. Come and visit an open space to explore science as a tool for designing with living organisms in the context of fashion.

We will have a 3-hour open program of demos, performances, talks, arts, workshops and drinks.

TheLab sets the stage for extra-cellular messaging. We gather, this night— to glow, grow and multiply. We’ll learn how and why. Biologists, designers, artists, colorists, makers, scientists, weavers, technologists: this is an invitation to become indistinguishable from one another. Blurring occupational lines, boundaries are illusions.

The exhibition project investigates the problematics and possibilities of communicating nonhuman perception through the interface of artistic practice and new technologies. By means of interactive and non-interactive video that use generative and time-based techniques the Australian artist Alinta Krauth considers potential narratives of animals under threat from climate change.

Alinta Krauth’s new project Under-Mine (2017), especially developed for Art Laboratory Berlin, uses video, generative art, data visualisation and an intensive study into the science of animal perception and cognition to propose narrative paths towards a meeting point of the human and nonhuman. Taking into account that each species’ way of sensing the world is unique, and often beyond the ken of human experience, Krauth makes use of a diverse technological toolbox to navigate and translate nonhuman perceptions.

By means of data generated video and sound, hand drawn animation, and digital interactive elements, Krauth creates four ‘narratives’ – bat, wild horse, woodlouse, and rock lizard – that follow a similar plot line: the attempt to survive a species die-off. The artist introduces abstract visual and aural perception as language, interaction with an immersive environment, and a sense-oriented, rather than linear narrative. In her own words she discerns that “one way to tell a narrative of, or for, a nonhuman animal is to consider the senses that are stronger in other species than in humans, for example echolocation, magnetoreception, hygroreception, chemoreception, and possibly proprioception.”

The project makes use of a tradition of interactive and game related electronic art, which connects the human body to storytelling, but proposes using this to explore the possibilities of inter-species empathy. Through interaction the audience wavers between being a character, a creator, and a viewer. While the artist is well aware that narrative is itself a very human construct, and that any attempt to experience animal perception is bound to be inherently anthropocentric, Under-Mine seeks to push at the boundaries between the human and animal, and dislodge us from our usual subject-object relation to the nonhuman.

Under the title ever elusive transmediale celebrates its 30-year anniversary with an entire month of activities from 2 February to 5 March 2017. The approach taken to the anniversary is contemporary rather than retrospective: ever elusive – thirty years of transmediale aims to use the critical and artistic knowledge gained at the festival over the years to reframe the question of the role of media today. In a world where technology increasingly operates independently of humans, where does the power to act and mediate lie?

ever elusive
On 2 February 2017 the three-day festival program opens at Haus der Kulturen der Welt within the scope of ever elusive. The festival, encompassing a conference and screening program, workshops and performances, takes place from 3 to 5 February 2017.

alien matter
The special exhibition alien matter curated by Inke Arns opens alongside the festival on 2 February 2017 at Haus der Kulturen der Welt. It focuses on neo-cybernetic couplings between humans, creatures and technologies, and human and nonhuman forces.

Osmodrama is the emergence of an unprecedented art form. With the scent organ Smeller 2.0 developed by Wolfgang Georgsdorf, olfactory narratives can be performed as standalones, as music with smells, as films to smell and as books to smell. With Edgar Reitz, Omer Fast, Eva Mattes, and many more. The first festival for olfactory art in Berlin, from 15th July until 18th September.

WELT AM DRAHT is the title of the first presentation in the new temporary JULIA STOSCHEK COLLECTION satellite at Leipziger Strasse 60 in Berlin’s Mitte district. In line with the JULIA STOSCHEK COLLECTION’s insistence that it be contemporary, the exhibition is devoted to media-based pieces that address the influences and changes in our social reality, identity and environment since digitalisation.

In 38 main pieces by 20 international artists all drawn from the JULIA STOSCHEK COLLECTION, starting with large video installations, sculptural works, a performance, a monumental live simulation through to a purpose-made piece by artist collective K-HOLE the exhibition highlights current art strategies and a completely new artistic formal idiom first enabled by the latest technologies.

Spring 2016 Pictoplasma transforms Berlin into the world’s most exciting meeting point for a diverse scene of international artists and creatives, trailblazing the face of tomorrow’s visual culture. The festival showcases latest trends in figurative character design, from fine to urban arts, illustration, animation and graphic design. Creators, producers and fans meet for an unconventional conference with cutting-edge artist presentations, curated screening programmes bring the latest animation eye-candy to the big screen, and a series of exhibitions and group-shows invite visitors to experience original works and outstanding character craftsmanship.

“A true traveller has no fixed plan and is not intent on arriving”
Lao Tzu, 600 B.C.

It’s not by chance that this quote stands for the work and attitude of Peter Beyls’ wandering as an artist. Contrary to many in the field of early digital art, he did not pursuit a linear concept of development. Like a curious wanderer he has gone in different directions and very often surprised us with new aesthetic adventures. This might be a reason, that his full scope of artworks have been acknowledged rather late, even so he can easily compete with the pioneers of the 1970s.

DAM presents a comprehensive show of artworks of the last 40 years with an emphasis on drawings including more recent robotic drawings.